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This book critically examines images in the borderlands of the art
world, investigating relations between visual art and vernacular
visual culture within different images communities from the 1870s
to the present day. It concentrates on the mechanisms of such
processes and their implications for the understanding of art and
art-historical narratives. Merging perspectives from art history
and visual culture studies with media studies, it fills a gap in
the field of visual studies through its use of a diversity of
images as prime sources. Where textual statements are scarce the
book maps visual statements instead, demonstrating the potential of
image studies. Consequently, it will be of great relevance to those
interested in art and visual culture in modernity, as well as
discourses of the notion of art and art history writing. -- .
Fashioned in the north showcases stories of images, photographers,
publications and institutions that have attracted minimal attention
outside the local Nordic academic community. The authors of the
book examine the reasons for, and implications of this
under-exposure to use a photographic metaphor. The domain of
fashion photography studies is widened here and the texts challenge
often taken-for-granted ideas of centre and periphery in the
discipline. The hybridity of this approach adds new nuances that
enrich the knowledge in the field. The contributors discuss fashion
photography as a transnational phenomenon, a material object, as
medium and part of a media system, and as the result of archival
systems and history writings. They show how in depth studies of
this kind can offer so much more than focusing on but a few agents,
iconic images, individual or periodic style. Indeed, casestudies
like these serve as a prism through which we can reveal cultural,
social, economic and ideological aspects of society as these are
reflected in fashion photography.
Since its inception in the 19th century, photography has brought to
light a vast array of represented subjects. Always situated in some
spatial order, photographic representations have been operatively
underpinned by social, technical, and institutional mechanisms.
Geographically, bodily, and geometrically, the camera has
positioned its subjects in social structures and hierarchies, in
recognisable localities, and in iconic depth constructions which,
although they show remarkable variation, nevertheless belong
specifically to the enterprises of the medium. This is the subject
of Representational Machines: How photography enlists the workings
of institutional technologies in search of establishing new iconic
and social spaces. Together, the contributions to this edited
volume span historical epochs, social environments, technological
possibilities, and genre distinctions. Presenting several distinct
ways of producing space photographically, this book opens a new and
important field of inquiry for photography research.
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